A beautifully detailed story, perhaps the finest jazz novel ever written - Sunday Times Not only the best jazz novel ever written, but one of the best novels of any kind published in English in the last ten years - The Musician Michael Ondaatje is a novelist with the heart of a poet - Chicago TribuneBased on the life of cornet player Buddy Bolden, one of the legendary jazz pioneers of turn-of-the-twentieth-century New Orleans, Coming Through Slaughter is an extraordinary recreation of a remarkable musical life and a tragic conclusion. Through a collage of memoirs, interviews, imaginary conversations and monologues, Ondaatje builds a picture of a man who would work by day at a barber shop and by night unleash his talent to wild audiences who had never experienced such playing. But Buddy was also playing the field with two women, and inside his head was a ticking time-bomb which he was unable to stop.

Publisher: HarperCollins Publishers ISBN: 9780007319053 Number of pages: 784 Weight: 1150 g Dimensions:240 x159 x52 mmHardback EditionAlex Ross, renowned author of the international bestseller The Rest Is Noise, reveals how Richard Wagner became the proving ground for modern art and politics-an aesthetic war zone where the Western world wrestled with its capacity for beauty and violence. For better or worse, Wagner is the most widely influential figure in the history of music. Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of writers, artists, and thinkers, including Charles Baudelaire, Virginia Woolf, Isadora Duncan, Vasily Kandinsky, and Luis Bunuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious anti-Semitism. His name is now almost synonymous with artistic evil. Wagnerism restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner's many-sided legacy. The narrative ranges across artistic disciplines, from architecture to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of W. E. B. Du Bois, from O Pioneers! to Apocalypse Now. In many ways,Wagnerism tells a tragic tale. An artist who might have rivalled Shakespeare in universal reach is implicated in an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of intellectual passion, urging us toward a more honest idea of how art acts in the world. --- 'An absolutely masterly work' Stephen Fry --- HarperCollins Publishing, 2020

This is a masterpiece, heavy, fun, mad, wild, inspiring, mind-blowing, massively deep though never precious, so many tangents somehow brought together with clarity and vision, love the idea of a left-hand path history, and the connections between the beginnings of the universe, ritual music and modern electronic rock is jaw-dropping. I love it, this is the music book of the year and the ultimate book on the sound of the eternal now. This is going to drop like a true fucking monolith from the skies.   - DAVID KEENAN     Every now and then a book comes out that redefines a form, creates the narrative and is a startling jolt to the culture fabric . . . [MONOLITHIC UNDERTOW] is thrilling, inspiring, informative and makes you jump all over the internet looking for the soundtrack. The book is a game changer and you will never listen to music in the same way again   - John Robb, LOUDER THAN WAR "Monolithic Undertow alights a crooked path across musical, religious and subcultural frontiers. It traces the line from ancient traditions to the modern underground, navigating archaeoacoustics, ringing feedback, chest plate sub-bass, avant-garde eccentricity, sound weaponry and fervent spiritualism. From Neolithic beginnings to bawdy medieval troubadours, Sufi mystics to Indian raga masters, cone shattering dubwise bass, Hawkwind’s Ladbroke Grove to the outer reaches of Faust and Ash Ra Temple; the hash-fueled fug of The Theatre of Eternal Music to the cough syrup reverse hardcore of Melvins, seedy VHS hinterland of Electric Wizard, ritual amp worship of Earth and Sunn O))) and the many touch points in between, Monolithic Undertow explores the power of the drone – an audio carrier vessel capable of evoking womb like warmth or cavernous dread alike.In 1977 Sniffin’ Glue verbalised the musical zeitgeist with their infamous ‘this is a chord; this is another; now form a band’ illustration. The drone requires neither chord nor band, representing – via its infinite pliability and accessibility – the ultimate folk music: a potent audio tool of personal liberation. Immersion in hypnotic and repetitive sounds allows us to step outside of ourselves, be it chant, a 120dB beasting from Sunn O))), standing front of the system as Jah Shaka drops a fresh dub or going full headphone immersion with Hawkwind. These experiences are akin to an audio portal – a sound Tardis to silence the hum and fizz of the unceasing inner voice. The drone exists outside of us, but also – paradoxically – within us all; an aural expression of a universal hum we can only hope to fleetingly channel…"

Keenan makes serious magic with this kaleidoscopic crowd of shamen and showmen, this host of flawed, unexpected, brilliant characters. Industry of Magic & Light is a spell-binding inventory of 1960s culture and a glorious, thrilling, funny reading experience. It's Keenan in excelsis: transcendent, violent in intensity, full of joy and utter wonder. - Wendy Erskine Brilliant - pure undiluted Keenan in crystalised form. Less a book and more of a passport, INDUSTRY OF MAGIC & LIGHT is nothing like you expected but everything you hoped for. - John HiggsIndustry of Magic & Light is a love letter to the counterculture of the 1960s and a requiem for its passing.The much-anticipated prequel to Keenan’s cult classic debut, This is Memorial Device, Industry of Magic & Light is set in the same mythical Airdrie in the 1960s and early 70s and centres on a group of hippies running their own psychedelic light show. Told in two halves – the first in the form of an inventory of the contents of a caravan abandoned by one of the hippies, the second in the form of a tarot card reading – it is not so much a book about the 1960s as a direct channelling of the decade’s energies, bringing to life how even the smallest and dreariest of working class towns felt so full of possibility in the wake of the psychedelic moment. Via artefacts from the time – everything from poetry chapbooks, record reviews and musical instruments through bubblegum wrappers, bicycle repair kits and mysterious cassette recordings – the book opens out into adventures along the hippy trail in Afghanistan and behind the Iron Curtain that leads a cast of new and returning characters – as well as the authorities – to believe that they are literally making magic. Simultaneously a forensics of the 1960s, a detective novel, an occult thriller, a vision quest, and the hallucinatory exposition of a moment where it felt like anything was possible, Industry of Magic & Life brings to life the streets of small working class towns as transformational sites of utopian joy.

Publisher: Reaktion Books Pub date: 15 Feb 2018 Language: English Number of pages:317 ISBN: 9781780238111Multimedia experiments are everywhere in contemporary art, but the collaboration and conflict associated with multimedia is not a new phenomenon. From opera to the symphonic poem to paintings inspired by music, many attempts have been made to pair sounds with pictures and to combine the arts of time and space. Counterpoints explores this artistic evolution from ancient times to the present day. The book's main focus is music and its relationship with painting, sculpture, and architecture. Philippe Junod draws on theoretical and practical examples to show how different art movements throughout history have embraced or rejected creative combinations. He explains how the Renaissance, neoclassicism, and certain brands of modernism tried to claim the purity of each mode of expression, while other movements such as romanticism, symbolism, and surrealism called for a fusion of the arts. Counterpoints is a unique cultural history, one that provides a critical understanding of a popular but previously unheralded art form.

Tristan Honsinger : textsJoel Grip : drawings (ink and graphite) and paintings Umdicht Förlag 2021 in collaboration with Topsi Series and Umlaut Records.Printed by Livonia 2021Copyright to the authorsLayout and design : Joel GripThanks to Erik Viklund, Seymour Wright and Tobias Delius for their help with checking files and proofreading, and to Fritz Margull, Norbert, Heino and Marcus for their support.On many levels Tristan Honsinger invites the reader to embark on the trip of embracing, chasing and changing the perception of what is possible. The routines and wisdom retrieved from his 50 years of living in the world of spontaneous imagery within the expression of sound and body are transmitted in a way that is both lucid and ludic. His texts are not about music per se, but they are musical in the sense that they welcome you to take part in the mysterious act of transformation. And in the end you are challenged to lead the trip elsewhere, based on your own associations in being the essence of us. “This book has been written over the course of a couple of months in the spring of 2020 and contains dialogues, aphorisms, songs, poems and short stories, sometimes combined. Counterpointing Tristan’s handwritings are the breezy, chasing and questioning drawings of Joel Grip. These two individuals form one of the most formidable acts in improvisation that I’ve ever seen. It’s a match!” – from the introduction by Antonio Borghini. Compiled by Klaus Kürvers, this book includes the complete discography of Tristan Honsinger‘s issued recordings so far, 1972-2020 : a 15-page directory of treasures from the recent history of modern music.

"With his gratifying archive, Matt Goody details one of the most successful eras in the history of rock music – Flying Nun Records, formed in 1981 by Roger Shepherd in a Christchurch record shop. Shepherd and his brilliant cohorts served up the legendary output of not only kingpins like The Clean, The Chills and Tall Dwarfs, but also captured the best from favourites of mine like Able Tasmans, Bird Nest Roys, Look Blue Go Purple and The Verlaines. Goody provides the most comprehensive presentation yet of Flying Nun’s rise from Shepherd’s notepad to international underground rock sovereignty – and a vital part of one nation’s collective art history." — Bob Nastanovich, PavementIn this remarkable tale of creativity and chaos, do-it-yourself innovation and extraordinary attempts at world domination, Needles and Plastic tells the inside story of one of New Zealand – and the world’s – great independent music labels. Hundreds of full color & black and white photos illustrate the story!Founded in 1981 by Roger Shepherd in Christchurch, New Zealand, Flying Nun Records unleashed an extraordinary wave of music that had an impact around the world. Needles and Plastic is the first comprehensive history of the early years of the label and its bands covering the critical period from 1981–1988 when many of the most influential and critically acclaimed artists emerged on Flying Nun, bands like – from The Clean, The Chills, The Verlaines, Straitjacket Fits and Bailter Space. The influence of the obscure label became apparent in the 1990s, when big-time indie acts like Pavement, Cat Power or Yo La Tengo started covering Flying Nun bands.In entries on over 140 records from The Clean’s ‘Tally Ho!’ 7" in 1981 to The Verlaines Bird-Dog LP in 1988, Matthew Goody tells the story through the records themselves. His book draws on years of in-depth research to reveal the stories of the bands, the recordings, the songs, and the audience, with a host of significant characters contributing along the way – Shepherd, Chris Knox, Doug Hood, Hamish Kilgour and many more. In this remarkable tale of creativity and chaos, do-it-yourself innovation and extraordinary attempts at world domination, Needles and Plastic tells the inside story of one the world’s great independent music labels.

Gathering together interviews, essays, rare archival material and translations, The Tempest Society revisits and resuscitates the forgotten heritage of a politicised theatre group – ‘Al Assifa’ – that was born out of the struggles of the Mouvement des travailleurs arabes (MTA), Palestine, anti-colonialism, and workers’ and immigrant labour rights. Contributors explore the legacy of the group – placing this history in the context of the European economic crisis and its effect on Greece, contemporary migration and the conditions of immigrant workers and refugees. Conversations with the artist, and participants and collaborators in her film, consider the potential for politicised art to move between the street and the factory in cultural production today. Following The Tempest Society (2017), the original video installation commissioned for documenta 14, which took Athens as a site to reflect on radical equality, democracy and theatre as a civic space, the book brings to light the specific history, the archive, and the ongoing resonance of the agit-prop theatre group ‘Al-Assifa’ in the context of urgent economic, political and humanitarian upheaval. With contributions from Abdellali Hajjat, Hendrik Folkerts, Pothiti Hantzaroula, and interviews with Philippe Tancelin, surviving member of Al Assifa, Bouchra Khalili, Omar Berrada, and Alexandre Kauffmann, and Isavella Alopoudi, Elias Kiama Tzogonas, and Giannis Sotiriou, the performers in The Tempest Society. Bouchra Khalili is a Moroccan-French visual artist. Raised between Morocco and France, she studied Film at Sorbonne Nouvelle and Fine Arts at École Nationale Supérieure d’Arts de Paris-Cergy. Recent exhibitions include solo shows at MFA, Boston, Jeu de Paume, Paris and Sessession, Vienna. In 2018 she has been shortlisted for both the Guggenheim’s Hugo Boss Prize and the Artes Mundi Prize. She currently lives in Berlin.

Co-published by Book Works and DACS, as part of Co-Series No. 21, in an edition of 1,000. Softback, 128pp, printed full colour, 170 x 220 mm. Designed by Simon Kennedy.This series of interviews, held by curator and writer Gilane Tawadros are focussed entirely on Stuart Brisley’s practice and directed by him. The artist’s narration of his practice demonstrates an unswerving resistance to controlling the narrative or fixing the meaning of his works. Citing the Brazilian writer Clarice Lispector, Brisley emphasises the critical importance of error to the creation of his performances: ‘You can say what you’re going to do, you can think about it, you can prepare it, and then when you start, it’s all disappeared because it’s actually meaningless… errors make for where the key value lies.’ The enduring resonance of Brisley’s work lies in its formless and slippery characteristics that resonate so poignantly with our shared human condition.

Can processors now make better music than human producers? How do algorithms alter our sense of authorship? What historical and social fault lines can be felt juddering in the design of autonomous sound generators? Be it in the home studio, on streaming platforms, or in the corporate business plans of global companies, artificial intelligence is defining the sound of the future. The essays in Artificial Music focus on the key developments, extending beyond digital little helpers to examine the balance between humans and machine learning and the process that enables non-human creativity to become a resonance chamber for new synergies. What sound might be produced in the dialogue between man and machine?

“If sound is birth and silence death, the echo trailing into infinity can only be the experience of life, the source of narrative and a pattern for history.” Drawing on Louis Chude­ Sokei’s metaphorical, political, and technopoetic investigations, this volume experiments with how the echo of past ideas of life and form has brought forth the technolo­gies and lifestyles that our contemporary world is based on. The essays, conversations, and artist contributions delineate a varie­gated array of technologies, creating an image of their past and their future potentials.

136 pp., 5 x 8 in, 136 color illus. Paperback MIT Press --- Strange as this adaptation may seem in theory, it works perfectly in practice. The way Krukowski approaches his subject makes for engrossing and enlightening reading. - Seattle Times Because the book reads like an illustrated script, complete with sound-effect and scene-setting embeds, the narrative played out vividly in my mind. - The AV Club Damon Krukowski's Ways of Hearing is an ear-opener. Based on the podcast of the same name from Radiotopia, the book is a multimodal experience, one that opens the ears through the eyes. - Columbia JournalA writer-musician examines how the switch from analog to digital audio is changing our perceptions of time, space, love, money, and power. Our voices carry farther than ever before, thanks to digital media. But how are they being heard? In this book, Damon Krukowski examines how the switch from analog to digital audio is changing our perceptions of time, space, love, money, and power. In Ways of Hearing—modeled on Ways of Seeing, John Berger's influential 1972 book on visual culture—Krukowski offers readers a set of tools for critical listening in the digital age. Just as Ways of Seeing began as a BBC television series, Ways of Hearing is based on a six-part podcast produced for the groundbreaking public radio podcast network Radiotopia. Inventive uses of text and design help bring the message beyond the range of earbuds. Each chapter of Ways of Hearing explores a different aspect of listening in the digital age: time, space, love, money, and power. Digital time, for example, is designed for machines. When we trade broadcast for podcast, or analog for digital in the recording studio, we give up the opportunity to perceive time together through our media. On the street, we experience public space privately, as our headphones allow us to avoid “ear contact” with the city. Heard on a cell phone, our loved ones' voices are compressed, stripped of context by digital technology. Music has been dematerialized, no longer an object to be bought and sold. With recommendation algorithms and playlists, digital corporations have created a media universe that adapts to us, eliminating the pleasures of brick-and-mortar browsing. Krukowski lays out a choice: do we want a world enriched by the messiness of noise, or one that strives toward the purity of signal only?

Published: Blank Forms Editions, 2021 6 x 8 inches, 202 pages. 23 Color and 10 B&W; images. Edition: PaperbackThe Cowboy’s Dreams of Home, the seventh Blank Forms anthology, takes its name from a psychedelic Wild West reverie of Texan singer-songwriter and visual artist Terry Allen. This volume privileges new texts including a retrospective interview with Allen conducted by ICA Philadelphia chief curator Anthony Elms; a conversation between multidisciplinary writers—and longtime friends—Thulani Davis and Jessica Hagedorn on the occasion of Davis’s latest poetry collection,Nothing But The Music, recently published by Blank Forms Editions; a recent discussion between composer Sarah Hennies and cellist Judith Hamann about their recent collaboration, which is included on Hamann’sMusic for Cello and Humming, released by Blank Forms Editions last fall; and a conversation with composer-performers Tashi Wada and Charles Curtis on the heels of a recent compilation of Curtis’s work,Performances & Recordings 1998–2018, produced by Wada. Each of these interviews sheds light on the particularities of the artists’ careers and methods in terms both formal and casual, practical and theoretical.  In addition to these dialogues, this book features new critical reflections on three artists whose work Blank Forms has presented: the legendary jazz percussionist and healer Milford Graves, by Ciarán Finlayson; English multimedia artist Graham Lambkin and his beguiling 2011 album Amateur Doubles, by Alan Licht; and the UK-based experimental music trio Still House Plants, by Joe Bucciero. These articles mine historical, social, and theoretical contexts, filling gaps in the existing literature on the given artist-subjects. New and archival poems and writing about poetry complement these interviews and essays, including rare texts by Davis, Hagedorn, and René Daumal—the latter translated by Louise Landes Levi—and a suite of Auto-Mythological writings commissioned from Chicago-based composer and musician Angel Bat Dawid. --- Edited by Lawrence Kumpf and Joe Bucciero with contributions from Angel Bat Dawid, Joe Bucciero, Charles Curtis, René Daumal, Thulani Davis, Anthony Elms, Ciarán Finlayson, Jessica Hagedorn, Judith Hamann, Sarah Hennies, Louise Landes Levi, Alan Licht, and Tashi Wada.  --- Blank Forms Editions, 2021

Based on the author's artistic research on migration, contemporary urban experience, and sonic alienation, The Nomadic Listener is composed of a series of texts stemming from psychogeographic explorations of contemporary cities, including Copenhagen, Berlin, Kolkata, Vienna, Delhi, Hong Kong, Mumbai, and New York, among others. Each text is an act of listening, where the author records his surrounding environment and attunes to the sonic fluctuations of movement and the passing of events. What surfaces is a collection of meditations on the occurrences of life movingly interwoven with memories, associations, desires and reflections. As readers we are brought into a tender map of contemporary urban experience, and the often lonely, surprising, and random interactions found in traveling. The Nomadic Listener includes parallel drawings based on the original audio recordings, and appear as ghostly renderings of the corresponding experiences. The recordings are published by Gruenrekorder and accessed through a QR code included in the book. --- Budhaditya Chattopadhyay is a contemporary artist, researcher, writer and theorist. Incorporating diverse media, such as sound and moving image, Chattopadhyay produces works for large-scale installation and live performance addressing urgent issues such as the climate crisis, human intervention in the environment and ecology, migration, race, and decolonization.Conceptually, Chattopadhyay's work inquires into the materiality, objecthood, site, and technological mediation of lived experiences, and considers the aspects of subjectivity, contemplation, mindfulness, and transcendence inherent in listening. His artistic practice intends to shift the emphasis from object to situation, and from immersion to discourse in the realm of sound and media art. As an artist, Chattopadhyay is an attentive and com(passionate) listener of the world around him, endeavoring to connect the disparate resonances across the borders and cultures through a practice committed to advocating for reciprocity and equality in the contemporary societies. His works are published by Gruenrekorder (Germany) and Touch (UK). Chattopadhyay is a Charles Wallace scholar, Prince Claus grantee, and Falling Walls fellow, and has received several residencies and international awards, notably a First Prize in Computer and Electronic Music category of Computer Space Festival, Sofia, and an Honorary Mention at PRIX Ars Electronica, Linz. Chattopadhyay has an expansive body of scholarly publications in the areas of media aesthetics, sound art, contemporary media, cinema and sound studies in leading peer-reviewed journals. He has graduated from India's national film school, specializing in Sound, completed a Master of Arts degree in New Media and Sound Art at Aarhus University, Denmark, and received a Ph.D. in Artistic Research and Sound Studies from Leiden University, The Netherlands.

English edition15 x 21 cm (softcover)136 pages (b/w ill.)Drawing upon traditions of socially engaged poetics, Brandon LaBelle's The Other Citizen presents narratives of contemporary crisis and exclusionary politics—from American teenagers in the maze of neoliberal privatization to those caught between borders of nation-states—outlining the force of a planetary citizenry. --- Brandon LaBelle is a musician, artist, writer, theorist, curator, educator and editor based in Berlin. His work, based on performance, sound installation, recording and use of found sounds, focuses on questions of agency, community, pirate culture, and poetics, which results in a range of collaborative and para-institutional initiatives, including: The Listening Biennial and Academy (2021-), Communities in Movement (2019-), The Living School (2014-16), Oficina de Autonomia (2017), The Imaginary Republic (2014-19), Dirty Ear Forum (2013-), Surface Tension (2003-2008), and Surface Tension (1998-2002). LaBelle reflects fluently on his artistic practice, drawing attention to the social dimensions of listening and manner in which sounds, in multiple variations, play upon public spaces, and drawing connections across media and incorporate video, as well as architectural and sculptural vocabularies into an expanded field that embraces rhetorical and spatial challenges.In 1995 he founded Errant Bodies Press, an independent publishing house supporting work in sound art and studies, performance and poetics, artistic research and contemporary political thought.

Edited by Lawrence Kumpf. Contributors and featured artists include Onyx Ashanti, Amy Cimini, Marcia Douglas, Kazuo Imai, Werner Durand, Peter Gente, Heidi Paris, Robert Ashley, “Blue” Gene Tyranny, Spencer Gerhardt, Adrian Rew, Paul Cummings, and Walter De Maria. Taking its name from Maryanne Amacher’s visionary, unrealized opera, the fourth issue of Blank Forms’ journal, Intelligent Life, features a select group of unpublished, newly translated, or otherwise rare texts that augment our organization’s concerts, publications, exhibitions, and archival initiatives. The issue opens with a short literary essay by the author Marcia Douglas, in which a deep bass riddim guides a deaf narrator and a reincarnated Bob Marley through important sites in Rastafarianism’s development. Next come two interviews with crucial (though very different) figures in postwar avant-garde music: the Japanese guitarist Kazuo Imai and the American composer Robert Ashley, along with pianist and frequent collaborator “Blue” Gene Tyranny. The previously unpublished interview with Imai was conducted by Blank Forms’ Editor and Artistic Director Lawrence Kumpf during Imai’s first trip to the United States, in 2018, and finds the artist reflecting on recent work with the collective Marginal Consort as well as his foundational experiences playing with two other titans of Japanese experimentalism, Takehisa Kosugi and Masayuki Takayanagi. The interview with Ashley and “Blue” Gene, meanwhile, first published in German in 1984 on the occasion of a staging of Ashley’s opera Atalanta, was translated for the first time into English for this publication. Intelligent Life continues with a series of longer pieces showcasing a diverse set of complex practices and histories, beginning with that of Detroit-based artist Onyx Ashanti. Onyx contributes his own Octavia Butler-referencing “sonocybernetic manifesto,” first published online in 2016, which exists simultaneously as theoretical treatise, memoir, and practical guide to his idiosyncratic technology-based practice. The manifesto is bolstered in this issue by a rare and extensive interview, conducted by Blank Forms’ Curatorial Assistant Adrian Rew in 2018. Following this exploration of Onyx’s life and work, the issue dives deeper into mathematics, with a comprehensive essay on Catherine Christer Hennix’s engagement with intuitionism and other esoteric approaches to math, written by the mathematician and musician Spencer Gerhardt. Gerhardt’s lucid, previously unpublished essay serves as a necessary complement to Blank Forms Editions’ forthcoming collection of Hennix’s abstruse, mostly unpublished body of writing, Poësy Matters and Other Matters. The issue continues with a sort of titular essay, a rich analysis of Amacher’s Intelligent Life—the first such piece on this work—by Amacher scholar Amy Cimini. An incredibly prescient work that sought to upend any remaining vestiges of traditional operatic form and staging, Intelligent Life tells the story, set in 2021, of employees at Supreme Connections LLC, a futurist sonic entertainment corporation that formed following the collapse of a failed algorithmic music recommendation service. Cimini traces the technical and theoretical innovations with which Amacher imbued the work, situating it amid a detailed explication of Amacher’s still-overlooked practice. Intelligent Life—the journal issue—then concludes with a lengthy interview with the artist Walter De Maria. One of the few interviews De Maria gave in his lifetime, this one, created for the Archives of American Art in 1972, sheds significant light on De Maria’s early intellectual and artistic development as well as his work as a musician. Although he largely stopped playing music by 1970, and although few recordings of his efforts exist, De Maria played alongside musicians ranging from Lou Reed to Don Cherry to Henry Flynt, establishing himself early on as a force in jazz and avant-garde circles in both the Bay Area and New York City. Taken together, the texts compiled here present a kaleidoscopic view of the last fifty years of experimental art and music in the United States and beyond, mining the conceptual, technical, historical, or otherwise marginal details undergirding artists’ lives, ideas, and approaches that may otherwise remain buried.

Hardcover ISBN: 9780262044783 248 pp.  7 in x 9 in 70 b&w; illus.The relationship between sound and space has become central to both creative practices in music and sound art and contemporary scholarship on sound. Entire subfields have emerged in connection to the spatial aspects of sound, from spatial audio and sound installation to acoustic ecology and soundscape studies. But how did our understanding of sound become spatial? In Stereophonica, Gascia Ouzounian examines a series of historical episodes that transformed ideas of sound and space, from the advent of stereo technologies in the nineteenth century to visual representations of sonic environments today. Developing a uniquely interdisciplinary perspective, Ouzounian draws on both the history of science and technology and the history of music and sound art. She investigates the binaural apparatus that allowed nineteenth-century listeners to observe sound in three dimensions; examines the development of military technologies for sound location during World War I; revisits experiments in stereo sound at Bell Telephone Laboratories in the 1930s; and considers the creation of “optimized acoustical environments” for theaters and factories. She explores the development of multichannel “spatial music” in the 1950s and sound installation art in the 1960s; analyzes the mapping of soundscapes; and investigates contemporary approaches to sonic urbanism, sonic practices that reimagine urban environments through sound. Rich in detail but accessible and engaging, and generously illustrated with photographs, drawings, maps, and diagrams of devices and artworks, Stereophonica brings an acute, imaginative, and much-needed historical sensibility to the growing literature around sound and space. --- “Ouzounian takes us on an extraordinary journey through the archaeology of acoustic and auditory spatialization. Ambitious and engaging in its account of stereophony, sonic warfare, contemporary sonic urbanism, and more, this book is an inspiring treat for academics, sound practitioners, and the general reader.” Aura Satz - artist/lecturer, Royal College of Art

72 pages182 mm x 128 mm90 mm cover flapsFormat: Paperback --- One, 2, 3 is a splendid feast made from the broken bits at the bottom of the bag. Bitingly funny, with a peculiar slippy charm that lodges its subversive truths about making art deep in the bones.- Kate FeldIn Jenna Collins’ One, 2, 3 an inexplicable locating occurs. We are led into rooms, views, situations and scenarios with no real notion of how we came to be wherever we are but at the same time finding ourselves as the unwitting witness to certain meticulousnesses, certain claustrophobic, often absurd, unbalancings, events, processes. The possibility appears to be offered of dipping one’s fingers into the pockets of the text and running off like a thief and indeed the placing of incidences, sometimes faintly mirroring, sometimes set inside - or resting obliquely against - the other, does leave the reader free from consecutive narrative but at the same time, oddly trapped even implicated in what unfolds and what doesn’t. - Paul Becker- Paul Becker 'The moon is visible in the window tonight. It is round and sharp and there is no need for lamps. Turning from the window, the writer pulls a chest of drawers away from the wall and drags a pile of clothes out of the way with her heel. She climbs a platform she has assembled from a small table centred on top of a larger one and begins writing on the beige wall. She is un-writing her days' work. The writer must attend to an internal equation that calls for a balance between her daytime writing; words that circulate in the world and provide her with money and earn her a general sort of admiration. And nighttime words, which leak out, full of the aggressive phrases and obdurate postures of the years before her education began." Exploiting forms that traditionally get burnt up in the production of the moving image, Jenna Collins' One, 2, 3 moves through sequences of writing that dramatize the small but necessary acts of theft and invention that shape a story in its telling. In this case, one that navigates the legacy of a dead female writer and the task of being a living artist. Jenna Collins' solo and collaborative artwork across media but primarily video and sound, has been broadcast, exhibited and screened widely at venues across the UK and further afield.Collins is based in London and West Yorkshire.